Wind symphony

UNIVERSITY OF TORONTO

FACULTY of MUSIC

2016-2017

season of events

Wind Symphony

Jeffrey Reynolds, conductor

Saturday, October 22, 2016
7:30 pm

MacMillan Theatre, 80 Queen’s Park

The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors

m Manulife mbna

Wind Symphony

Jeffrey Reynolds, conductor

PROGRAM

Wild Nights

Frank Ticheli

(b. 1958)

Flow

Roydon Tse

(b. 1991)

Come, Sweet Death (Komm’, Susser Tod)

J. S. Bach

(1685-1750)
transcribed by Alfred Reed

Suite Provengale

I. Un ange a fa la credo

II. Adam e sa Coumpagno

III. Lou Fustie

IV. Lis Escoubo

Jan Van der Roost

(b. 1956)

Intermission

Sunrise at Angel’s Gate

Philip Sparke

(b. 1951)

French Impressions

I. Parade

II. Can Can

Guy Woolfenden

(1937-2016)

A Moorside Suite

Gustav Holst

I. Scherzo (1874-1934)

II. Nocturne arranged by Denis Wright

III. March

Serenade

Derek Bourgeois

(b. 1941)

Wind Symphony

FLUTE

Pinar Ayverdi
Elena Baker
Clara Chung
Noah deVerheyen
(piccolo)

Amy Heyd
Sierra Kim
Julia Li
Grace Liu*

Rebekah Tam

CLARINET

Yasmeen Alii
Mary-Anne Barter
Jared Berger
Gennady Grebenchuk
Katelyn Katie
Andrew Lin
Christie MacLennan
Breeanna Parenteau
Steve Seo
Emily Simone

BASS CLARINET

Bryn Smith

OBOE

Blaise Gratton
Solouna Lioumanis
(English Horn)

Eric Luo

SAXOPHONE

Chiara Fernando
Joseph Gargaro
Jason Lau
Micaela Morey
Jovanka Rodrigo-
Candappa
Nicole Tse

TRUMPET

Andrew Decker
Alexis Dill
Helen Geng
Tom MacCammon
Brian McAuley*

Adrian Rogers
Charles Watson

FRENCH HORN

Rosa Alaimo
Benjamin Law
Paolo Rosselli
Sophia Shah
Catherine Wang

TROMBONE

Alexander Allsopp
Joseph Li
Ethan Mattel
Kyle Orlando
Aaron Tenn-Miller

EUPHONIUM

Raymond Chiu

TUBA

Henry Paterson
Jim Xu*

DOUBLE BASS

Jackson Steinwall

HARP

Alanna Ellison

PERCUSSION

Adam Kaleta
Allison Lam
Ashley Patoine
Kieshav Sharma-Jaitly
Jacob Valcheff

MACMILLAN
THEATRE STAFF

Ian Albright
Technical Director
Les Stockley
Technical Assistant
Bob Dunkin
Production Assistant

PERFORMANCE

COLLECTION

Karen Wiseman
Librarian

*Ensemble Managers

Thank you for your support!

The Faculty of Music gratefully
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September 1,2014 and March 1,

2016, in support of our students and
programs. Thank you for the part you
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Mark Abbott

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Biography

Jeffrey Reynolds

Jeff Reynolds is Associate Professor,
Teaching Stream, in trumpet and
conducting. Formerly co-ordinator
of the Performance Division, he has
taught at the Faculty of Music for over
30 years, teaching undergraduate
courses in instrumental education,
chamber music, jazz education and
jazz history, and conducting the Wind
Ensemble and Wind Symphony. Fie
maintains a trumpet studio and has
appeared as a trumpet player with
various orchestras and chamber
ensembles, performing with, among
others, the Victoria Symphony, the
Calgary Philharmonic, the Orchestra
of the Royal Winnipeg Ballet and the
Flamilton Philharmonic. His trumpet
studies were with Arnold Jacobs,
Vincent Cichovicz, Boyd Hood and
Ward Cole. Reynolds adjudicates at
festivals across Canada and appears
as a guest conductor and clinician.

His articles appear in such journals as
Canadian Winds, The Recorder and
the Journal of Aesthetic Education,
and he is the author of the pedagogy
book Trumpet for Dummies. After
degrees in philosophy and music
he received his doctorate from
the University of Toronto in the
philosophy of music education, with
a focus on creativity in performance
and pedagogy.

Program Notes

Wild Nights

Frank Ticheli is an American com¬
poser of orchestral, choral, chamber,
and concert band works. He lives in
Los Angeles, California, where he is a
Professor of Composition at the Uni¬
versity of Southern California. He was
the Pacific Symphony’s composer in
residence from 1991 to 1998, com¬
posing numerous works for that or¬
chestra. A number of his works have
become standards in concert band
repertoire. Wild Nights, the composer
writes, “is a joyous, colorful seven-
minute musical journey inspired by
Emily Dickinson’s poem.”

Wild Nights! Wild Nights!

Were I with thee,

Wild Nights should be
Our luxury!

Futile the winds
To a heart in port,-
Done with the compass,

Done with the chart.

Rowing in Eden!

Ah, the sea!

Might I but moor
To-night in Thee!

Lullaby for Natalie

Hailed as a composer “glittering with
professionalism” (Vancouver Sun)
Roydon Tse is an award-winning
composer who strives to commu¬
nicate to audiences from all back¬
grounds with his music, from the
first time listener to the sophisticated
classical connoisseur. A composer
of symphonic, chamber and vocal

works, Roydon has collaborated
numerous orchestras throughout
Canada and internationally.

Here are his thoughts on Flow :

In writing this piece for the Univer¬
sity of Toronto Wind Symphony, I
imagined the ensemble as a large
extended organ that was capable of
creating many layers of sound that
move in and out of each other. It was
from this first concept that the idea
of Flow became the central focus in
my structural thinking. From the quiet
clusters that are heard in the begin¬
ning emerge large sound masses
that ebb and grow. Like a river which
starts with a trickle, it turns into a
series of rapids that converge into a
larger body. As the river reaches the
mouth of the sea, the momentum
finally gives way and we return to a
slower flow, with the eventual dissipa¬
tion of the sound into the silence. The
form of the piece follows this pro¬
gression with some slight surprises in
the journey. The piece was written for
the UTWS under the Composer-in-
Residence program at the University
of Toronto Faculty of Music.

Come, Sweet Death

J.S. Bach’s Come, Sweet Death was
freely transcribed by Alfred Reed in
1976 from a single melodic line with
figured bass. Although a simple two-
part song form, played twice, this
work is a deeply moving expression
of Bach’s faith. Alfred Reed (1921-
2005) was a celebrated American
composer, arranger, conductor and
editor. He was one of America’s most
prolific and frequently performed
composers, with more than 250

published works for concert band,
wind ensemble, orchestra, chorus,
and various smaller chamber music
groups to his name.

Suite Provengale

Jan Van der Roost was born in
Duffel, Belgium, in 1956. He studied
trombone, music history and musical
education at the Lemmensinstituut
in Leuven, continuing his studies at
the Royal Conservatoires of Ghent
and Antwerp, where he qualified as a
conductor and a composer. Van der
Roost currently teaches at the Lem¬
mensinstituut in Leuven (Belgium), is
special visiting professor at the Shobi
Institute of Music in Tokyo, guest
professor at the Nagoya University of
Art and guest professor at Senzoku
Gakuen in Kawasaki. His musical
activities have taken place in more
than 45 countries in four continents
and his compositions have been
performed and recorded around the
world. Suite Provengale is based on
authentic folk tunes from the beauti¬
ful southern province in France: the
“Provence”. Each of the four move¬
ments has its own character: “Un
Ange a fa la crido” (An angel brought
the creed / credo) is like a bourree,
“Adam e sa Coumpagnou” (Adam
and his companion) is an old love
song, “Lou Fustie” (the carpenter) a
fast dance and finally “Lis Escoubo”
(a whistle tune / popular ballad) is a
farandole. In the latter, the old tradi¬
tion of folk musicians who play a
whistle with one hand and a drum
with the other hand is clearly repre¬
sented during the first presentations
of the theme.

Sunrise at Angel’s Gate

Philip Sparke was bom in 1951, in
London. After studies in composi¬
tion, trumpet and piano at the Royal
College of Music he began writing
for brass and wind bands. His many
compositions are performed around
the world to great acclaim. Sunrise at
Angel’s Gate was commissioned by
the United States Army Field Band,
and first performed by them in 2001,
and was inspired by the composer’s
impressions of the Grand Canyon.
Sparke writes, “Sunrise and sunset
are the best times to view the Can¬
yon, as a sun low in the sky cast
shadows that give depth and form to
the vast panorama. Angel’s Gate is
one of the many named rock forma¬
tions on the northern side of the
canyon and in this piece I have tried
to depict the sights and sounds of
dawn there, birdsong in the early
morning sky and the gradual revela¬
tion of the canyon itself.. .The faster
section depicts the arrival of the tour¬
ist buses.”

French Impressions

Guy Woolfenden was born in
Ipswich and educated at Westmin¬
ster Abbey Choir School, London,
and Whitgift School, Croydon. He
studied music at Christ’s College in
Cambridge and went on to study at
the Guildhall School of Music and
Drama. Woolfenden joined the Royal
Shakespeare Company in Stratford-
upon-Avon in 1961 and was Head of
Music from 1963 to 1998. He com¬
posed many pieces for wind bands,
chamber ensembles and orchestral
works, many of which have been

recorded. He also composed many
scores for the Royal Shakespeare
Company and worked with many
major European theatre and film
companies. His film credits included
the 1968 movie version of A Midsum¬
mer Night’s Dream, as well as the
1974 television version of Antony and
Cleopatra. French Impressions was
commissioned by the Metropolitan
Wind Symphony of Boston, and
was premiered in 1998. The work
is inspired by several works of the
French painter Georges Seurat (1859-
1991), including La Parade de Cirque,
A Bathing Place, Asinieres and Le
Chahut, a curiously stylized Can Can
in full swing.

A Moorside Suite

A Moorside Suite was composed by
Gustav Holst in 1928, as a com¬
petition piece for the BBC and the
National Brass Band Festival. The
first movement, Scherzo, contrasts
an insistent rhythmic motive with a
lyrical trio. The second movement,
Nocturne, is written beautifully with
descending thirds and sixths. It is a
warmth that Holst was just begin¬
ning to discover, and according to his
daughter, Imogen Holst, was among
his most emotionally expressive
works. He also arranged this move¬
ment for strings. The last movement,
March, is reminiscent of the “March¬
ing Song” from Two Songs without
Words, and once again features
lyrical, flowing lines contrasting with
martial material.

Holst was born to a musical family in
1874. After a somewhat frustrating
start to his musical career, including

unsuccessful piano and violin study,
Holst began playing the trombone
and studying composition. In 1893
he began his studies at the Royal
College of Music, studying composi¬
tion under Charles Stanford. Holst’s
music includes operas, choral works,
orchestral and band compositions.
His most famous piece was the or¬
chestral suite The Planets, and in the
brass and wind band worlds he is re¬
vered for his First and Second Suites
for Military Band. In 1905 he became
director of music at St. Paul’s Girls’
School, a position he held until his
death in 1934.

Serenade

tor of Music of St Paul’s Girls’ School
in London, the school where Gus¬
tav Holst also taught. He retired to
Mallorca in July 2002. The delightful
Serenade was composed for his own
wedding, to be played as the guests
left the ceremony. As the composer
writes, not wishing to allow them the
luxury of proceeding in an orderly
2/4, he wrote the work in 11/8, and in
case anyone felt too comfortable, he
changed it to 13/8 in the middle.

Program notes by Jeffrey Reynolds

Up next at UofT Music

Derek Bourgeois was born in Kings¬
ton on Thames in 1941. He gradu¬
ated from Cambridge University with
a first class honours degree in music,
and a subsequent Doctorate. He
spent two years at the Royal College
of Music where he studied composi¬
tion with Herbert Howells and con¬
ducting with Sir Adrian Boult.

As well as a considerable quantity
of chamber, vocal and instrumen¬
tal music, he has composed fifteen
extended works for Brass Band and
seven symphonies for Symphonic
Wind Orchestra. He has also written
a considerable amount of music for
television productions. In 1988 he
founded the National Youth Cham¬
ber Orchestra of Great Britain, which
held its first course in the summer
of 1989. In 1990 he was appointed
Artistic Director of the Bristol
Philharmonic Orchestra.

He left the National Youth Orchestra
in August 1993 to become the Direc¬

UofT Symphony Orchestra

Oct 25 @ 7:30 pm, MacMillan Theatre
HAYDN | Symphony No. 88 in G Major
MOZART | Symphony No. 41, K. 551 in
C Major “Jupiter”

BEETHOVEN | Symphony No. 2,

Op. 36 in D Major

Wind Ensemble

Oct 27 @ 7:30 pm, MacMillan Theatre
SHOSTAKOVICH | Festive Overture
THOMPSON | Alleluia
VAN DER ROOST | Puszta
WEILL | Little Three Penny Suite
SCHUMAN | When Jesus Wept
WHITACRE | Noisy Wheels of Joy

Tickets:

416-408-0208 | music.utoronto.ca

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